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Journal articles on the topic 'French poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Wagstaff, Emma, and Nina Parish. "Translating Contemporary French Poetry." Irish Journal of French Studies 18, no. 1 (2018): 163–94. http://dx.doi.org/10.7173/164913318825258347.

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This article examines a bilingual anthology edited by the authors and published in 2016. It argues that the process of editing an anthology of contemporary poetry with multiple translators is a form of re-writing that not only introduces new writers into the target-language poetic system, but also recasts their positions in the poetic system of the source culture by giving them new readers who have no or few preconceptions about the writers' place in that system. Anthologizing operates in tandem with translating in this instance, and we additionally use the notions of inference and cognitive stylistics to discuss the particular habitus of academic translators who are not poets, and the opportunities those approaches offer to produce a creative translation. Style is an appropriate lens through which to consider poems included in this anthology because it is a contested question in contemporary French poetic practice. The article therefore treats the question of présence that this special issue addresses in three ways. It discusses, on the most literal level, the new or more visible presence that French poetry can acquire in the anglophone context through translation and anthologies. Moreover, it examines the ways in which the presence of new or decontextualized voices affects poetic systems. Finally, it considers whether an approach to translation that sees it as an embodied, interpretative process may allow some access to the présence of the 'original' poetic work.

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Lawall, Sarah, David Kelley, and Jean Khalfa. "The New French Poetry." World Literature Today 71, no. 4 (1997): 758. http://dx.doi.org/10.2307/40153320.

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3

Felicia Olufemi, Olaseinde, and Sefiu Salami. "Relevance of Poetry: Catalyst of Moral Education in Sustaining Literacy for National Development in Teaching and Learning French Language." international journal of Education, Learning and Development 11, no. 8 (2023): 1–17. http://dx.doi.org/10.37745/ijeld.2013/vol11n8117.

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This paper attempts to show the relevancy of French poetry as catalyst of moral education in sustaining literacy for national development in teaching and learning the Language French. French poetry is one of the literary works that is used in giving moral education and promoting literacy in the teaching and learning French language. Education and moral are related to the needs of the society, it is what the students need to utilize in their daily life and should be given to them so as to have a brighter future. French language contains materials that deal with cognitive aspects likewise literacy education in form of prose and poetry which deal with the moral values should be imparted on the students during teaching process. French poetry, like other branches of literature is a work of imaginable deep thoughts, feelings and human experiences. Many people or teacher who are concerned about poetry teaching emphasise quite rightly the need to produce a lively atmosphere in the class so that poetry can be seen to be a source of pleasure and bring about the desired value change in our society. Descriptive research of a survey type was used for the study. The sample consisted of selected 50 French language students in two private Universities and 10 French language teachers in different institutions. The questionnaire was designed on the ability of the students towards teaching and learning French poetry as a catalyst of moral education in sustaining literacy for national development. The instrument used was a questionnaire for the teachers to generate information from them on the activities of the students towards learning French poetry and the provision of instructional materials during the Teaching and Learning of French poetry. Data collected were analysed using frequency count, percentage and ANOVA.

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Kim, Junhyun. "Multilingualism and Poetic effect in Medieval French Poetry." Comparative Literature 80 (February 28, 2020): 45–77. http://dx.doi.org/10.21720/complit80.02.

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5

Korchagin, Kirill M. "Bureau “Transatlantic”: French and US Poets on Rendezvous." Literature of the Americas, no. 12 (2022): 261–73. http://dx.doi.org/10.22455/2541-7894-2022-12-261-273.

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Since the middle of the 19th century, American literature has been perceived by French poets as a kind of Other, at the same time alien and attractive, capable of teaching the experience of liberation, which the French poets themselves lack. Nevertheless, the situation is more familiar when other poets of the world are looking for inspiration in French poetry. French poetry for American modernists of the first quarter of the 20th century was synonymous with everything that expands the horizons of literature. At the same time, the reverse situation, when French poetry is saturated with outside influences, in particular, American ones, is studied much worse. Abigail Lang's book tries to fill this gap, considering the transformations that the new, “post-Surrealist” French poetry is experiencing under the impression of the new American poetry. The book is divided into three chapters: the first one deals with the reception of objectivism since the 1970s to the present, the second one deals with the problem of the “transatlantic” poetic community, which manifests itself in various forms and genres, and, finally, the third one tells about the “speech turn,” which, from the author's point of view, takes place in French poetry of recent decades.

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Jefferson, Ann. "Collected French Translations: Prose / Collected French Translations: Poetry." Common Knowledge 23, no. 2 (2017): 359–60. http://dx.doi.org/10.1215/0961754x-3816026.

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7

Zuo, Li, Dengke Zhang, Yuhai Zhao, and Guoren Wang. "Automatic Generation and Evaluation of French-Style Chinese Modern Poetry." Electronics 13, no. 13 (2024): 2659. http://dx.doi.org/10.3390/electronics13132659.

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Literature has a strong cultural imprint and regional color, including poetry. Natural language itself is part of the poetry style. It is interesting to attempt to use one language to present poetry in another language style. Therefore, in this study, we propose a method to fine-tune a pre-trained model in a targeted manner to automatically generate French-style modern Chinese poetry and conduct a multi-faceted evaluation of the generated results. In a five-point scale based on human evaluation, judges assigned scores between 3.29 and 3.93 in seven dimensions, which reached 80.8–93.6% of the scores of the Chinese versions of real French poetry in these dimensions. In terms of the high-frequency poetic imagery, the consistency of the top 30–50 high-frequency poetic images between the poetry generated by the fine-tuned model and the French poetry reached 50–60%. In terms of the syntactic features, compared with the poems generated by the baseline model, the distribution frequencies of three special types of words that appear relatively frequently in French poetry increased by 12.95%, 15.81%, and 284.44% per 1000 Chinese characters in the poetry generated by the fine-tuned model. The human evaluation, poetic image distribution, and syntactic feature statistics show that the targeted fine-tuned model is helpful for the spread of language style. This fine-tuned model can successfully generate modern Chinese poetry in a French style.

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8

Rothwell, Andrew, Russell King, and Bernard McGuirk. "Reconceptions: Reading Modern French Poetry." Modern Language Review 92, no. 3 (1997): 739. http://dx.doi.org/10.2307/3733447.

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9

Sinclair, F. E. "The Making of Poetry: Late-Medieval French Poetic Anthologies." French Studies 63, no. 2 (2009): 202–3. http://dx.doi.org/10.1093/fs/knp012.

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10

Sarah Lee, Sze Wah. "Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914." Modernist Cultures 16, no. 3 (2021): 340–66. http://dx.doi.org/10.3366/mod.2021.0338.

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This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.

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11

Pintarič, Miha. "Hate Speech and French Mediaeval Literature." Acta Neophilologica 51, no. 1-2 (2018): 63–70. http://dx.doi.org/10.4312/an.51.1-2.63-70.

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Hate speech is spoken or written word which expresses a hostile attitude of a dominating majority towards any kind of minority. The author analyses a few examples of hate speech in literary history and concludes that such a phenomenon is typical of The Song of Roland, whether uttered in a direct way or spoken between the lines. One will expect hate speech in epic and heroic poetry, less in the Troubadour poetry. Yet we come across this awkward characteristic even in their love poetry. To be quite clear, in the poetry of Bernart de Ventadorn. The last part of the article is about the courtly romance. The author concludes that hate speech can only be controlled by love, not any, but the love that makes one a better person, and which the Troubadours called fin’amors.

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12

Edzard, Alexandra. "A Judeo-French Wedding Song from the Mid-13th Century: Literary Contacts between Jews and Christians." Journal of Jewish Languages 2, no. 1 (2014): 78–98. http://dx.doi.org/10.1163/22134638-12340022.

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The subject of this article is a bilingual Judeo-French wedding song, edited by David Simon Blondheim in 1927. It is studied in its linguistic (Hebrew and French) and cultural (Jewish and Christian France) context. In the Jewish tradition, the song belongs to a widely used form of poetry in which two or more languages alternate. A similar bi- and multilingualism can also be found in medieval Christian poetry in France and in Muslim poetry in Moorish Spain. The present study concentrates on poems in which French can be found together with other languages. The article demonstrates influence from Christian multilingual poetry on the Judeo-French wedding song. In addition, it discusses how Jewish and Christian poets proceed when using more than one language and what reasons there are for the use of multiple languages within a single text.

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13

Szilágyi, Ildikó. "Questions de forme et de genre en traduction poétique." Translationes 5, no. 1 (2013): 62–74. http://dx.doi.org/10.2478/tran-2014-0090.

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Abstract The present study examines modern and contemporary French poetry from the point of view of its translation into Hungarian. Firstly, the French and Hungarian traditions of poetic translation are summarized briefly. Then the possibility of translation of “verset” (long verse), not recognized in Hungarian poetry as a modern poetic genre, is discussed. Particular attention is called to the return of several contemporary French poets to traditional versification, and to the difficulties of Hungarian translators to suggest the importance of this return. Finally, the Hungarian translation of Roubaud’s volume of poetry (Quelque chose noir) invites reflection on the constraints of Oulipo

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14

Jestaz, Philippe, and Christophe Jamin. "The entity of French doctrine: some thoughts on the community of French legal writers." Legal Studies 18, no. 4 (1998): 415–37. http://dx.doi.org/10.1111/j.1748-121x.1998.tb00074.x.

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‘Doctrine’, from the legal point of view, is often understood, in France at least, as a collection of works. For example, Le Petit Robert defines it as ‘the entirety of legal works whose aim is to expound or interpret the law (as opposed to legislation and judicial decisions)’. This definition is not erroneous, but it only captures one aspect of the matter. If doctrine were only a collection of works, it would be nothing more than a university or law court library. However, it is clearly much more than that. Likewise, it is clear that poetry cannot simply be reduced to a huge collection comprising the works of all French poets. Beyond the production of doctrine (or poetry) lie the workings of doctrine (or poetry), that is to say the persons who devote themselves to it. It is at this point that one encounters other meanings of the term.

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15

Kim, Jungsug. "French Writing Education Using Children’s Poetry." Korean Association For Learner-Centered Curriculum And Instruction 20, no. 6 (2020): 1285–304. http://dx.doi.org/10.22251/jlcci.2020.20.6.1285.

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16

Shail, Andrew. "Cinepoetry: imaginary cinemas in French poetry." Early Popular Visual Culture 12, no. 4 (2014): 446–52. http://dx.doi.org/10.1080/17460654.2014.955984.

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ffrench, P. "Cinepoetry: Imaginary Cinemas in French Poetry." French Studies 68, no. 1 (2014): 131. http://dx.doi.org/10.1093/fs/knt285.

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18

Hochman, Hugh. "The Cambridge Introduction to French Poetry." French Studies LX, no. 1 (2006): 162–63. http://dx.doi.org/10.1093/fs/kni374.

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19

Lang, Abigail. "Bail Out Poetry." boundary 2 48, no. 4 (2021): 129–37. http://dx.doi.org/10.1215/01903659-9382187.

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Abstract Originally written as an afterword to a book-length translation of poems by Charles Bernstein, this piece was meant to introduce his recent poetry and poetics to a French audience. It does so by pondering the twin economic and nautical senses contained in the title Bernstein suggested for the collection: Poetry Bailout (in French, Renflouer la poésie). What is the value of poetry? What are its uses? These are questions which have underpinned Bernstein's work. In an early essay, adapting a statement by Simone Weil, Bernstein posited that poetry draws its social—or antisocial—power from the fact that “it is ceaselessly creating a scale of values ‘that is not of this world.’” One way it does that is by intensifying the experience of reading. Placing his recent poetics under the aegis of Poe, Bernstein has managed to balance poetry's social and aesthetic functions by cultivating the uses of aesthetics, reconciling pragmatism with unabashed aestheticism.

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20

Chepiga, V. P. "Yasnov, M. (2019). The nursery of French poetry. Translations. Portraits. Encounters. Moscow: Tsentr knigi Rudomino. (In Russ.)." Voprosy literatury, no. 3 (July 29, 2020): 295–300. http://dx.doi.org/10.31425/0042-8795-2020-3-295-300.

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M. Yasnov’s book attempts to bridge the cultural gap between France and Russia. Showcasing Yasnov’s talents as a poet, writer of children’s books, translator, and commentator of French poetry collections and anthologies, the book continues the cycle of his works dedicated to French poetry and its Russian translations and interpretations. The bilingual edition of 16th–20th-cc. French poetry published in 2016 started the series and included the works of La Pléiade and La Fontaine, Baroque and Rococo poets, as well as poètes maudits and the poems of La Belle Époque. In addition to the collected poems, the book contains essays on the poets and Yasnov’s comments about the challenges of translation. In the new publication, Yasnov the translator lends a voice to French poems for children, many of which appear in press for the first time. Finally children’s literature originating in France will reveal its diversity to Russian readers.

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21

Mateiu, Iuliana-Anca. "Le pronom français On dans la poésie de Iulia Haşdeu. Complexité référentielle et traduction." Studia Universitatis Babeș-Bolyai Philologia 67, no. 4 (2022): 453–75. http://dx.doi.org/10.24193/subbphilo.2022.4.23.

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"The French Pronoun ON in Iulia Haşdeu's Poetry. Referential Complexity and Translation. In our paper, we intend to explain the frequency of the French pronoun ON in the poetry of Iulia Haşdeu and the variety in translating its constructions into Romanian through a comparative stylistic analysis and an enunciative analysis of its occurrences and translations. Due to its indetermination, ON can be used in a lot of contexts, or it can be suppressed in those contexts where predication is more important than reference. Keywords: On, referential complexity, poetry, translation, enunciative analysis "

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22

Cifarelli, Paola. "Jane Taylor, The Making of Poetry. Late-Medieval French Poetic Anthologies." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 433–34. http://dx.doi.org/10.4000/studifrancesi.8834.

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23

Ardrey, Caroline. "Visualising Voice: Analysing spoken recordings of nineteenth-century French poetry." Digital Scholarship in the Humanities 35, no. 4 (2019): 737–58. http://dx.doi.org/10.1093/llc/fqz073.

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Abstract This article presents a digitally assisted mode of close listening as an innovative way of analysing poetry, through the implementation of a recently developed web-based tool called Visualising Voice, initially conceived to facilitate performance studies of French poetry. This article begins by establishing the status of close listening practices and their importance as a means of studying poetry in French, as well as considering the possibilities afforded by applying these practices to studying poetry in other languages. It then goes on to examine how the Visualising Voice tool can be applied to case studies of two poems—Charles Baudelaire’s ‘L’Albatros’ (‘The Albatross’) and Paul Verlaine’s ‘Green’—each performed by three different speakers. This article argues that close listening using the Visualising Voice tool reveals subtle differences in the handling of metrical features and differences in performance styles of the same poem, which would be unlikely to be perceived by traditional listening methods. This article thus contends that close listening practices not only take the study of poetry beyond traditional modes of textual analysis but also that facilitating these practices through digital methodologies—such as those offered by the Visualising Voice tool—can transform the way in which poetry is read and understood beyond the academic sphere, in particular by general and younger audiences.

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24

Ku, In-Mo. "Kim Eok’s planisphere of modern French poetry." Journal of Dong-ak Language and Literature 82 (October 31, 2020): 11–43. http://dx.doi.org/10.25150/dongak.2020..82.001.

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25

Killick, Rachel, Martin Sorrell, and Lawrence Kitchin. "Modern French Poetry: A Dual Text Anthology." Modern Language Review 89, no. 1 (1994): 222. http://dx.doi.org/10.2307/3733207.

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26

Goldberg, Nancy Sloan. "French pacifist poetry of World War I." Journal of European Studies 21, no. 4 (1991): 239–58. http://dx.doi.org/10.1177/004724419102100401.

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27

CHADWICK, C. "Review. Nineteenth-Century French Poetry. Bishop, Michael." French Studies 48, no. 4 (1994): 475. http://dx.doi.org/10.1093/fs/48.4.475-a.

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28

Morot-Sir, Edouard. "Expectations and Perplexities of French Poetry Today." World Literature Today 59, no. 2 (1985): 183. http://dx.doi.org/10.2307/40141449.

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29

Metzidakis, Stamos. "The Cambridge Introduction to French Poetry (review)." Nineteenth Century French Studies 33, no. 3 (2005): 407–9. http://dx.doi.org/10.1353/ncf.2005.0028.

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30

Harrow, Susan. "Colorsteps in Modern and Contemporary French Poetry." French Forum 37, no. 1-2 (2012): 35–52. http://dx.doi.org/10.1353/frf.2012.0020.

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31

Kang, Yoonjeong, and Yoonhan Jeon. "Reproduction of French Surrealist Poetry by Chanson." Korean Society of Culture and Convergence 40, no. 2 (2018): 175–96. http://dx.doi.org/10.33645/cnc.2018.06.40.3.175.

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32

Kelly, M. G. "Twentieth-Century French Poetry: A Critical Anthology." French Studies 65, no. 2 (2011): 271–72. http://dx.doi.org/10.1093/fs/knr062.

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33

Leguene, IBRAHIM. "The interaction of poetry and revolution, a reading of modern Algerian revolutionary poetry." Milev Journal of Research and Studies 8, no. 1 (2022): 170–80. http://dx.doi.org/10.58205/mjrs.v8i1.565.

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The modern Algerian literary criticism has been very busy with the arts that expressed the revolution and dealt with it from its various aspects, When critics wanted to explain the role of literature in this revolution and its relationship to the masses, they focused on two arts : poetry written in French and the story. But the objective research in modern Algerian poetry written in Arabic, concludes that this poetry was not separate from the revolution, nor from the people , It accompanied the stages of the French occupation, and interacted positively with the cultural, social and political concerns of the homeland and the people, He also predicted it with the like of anxiety, complaint and resentment, so he was eager for it and predicted its occurrence dozens of years ago, and this is what this article will address with poetic examples and critical evidence.

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34

Shamilova, Shahnaz. "MODERN FRENCH AND AZERBAİJANİ POETRY AT THE LEVEL OF COMPARATİVİSTİCS." Scientific Journal of Polonia University 62, no. 1 (2024): 104–14. http://dx.doi.org/10.23856/6214.

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In the article, the stages of development of Azerbaijani poetry from the 19th century to the 20th–21st centuries, which were accompanied by fundamental changes, were reviewed. It has been noted that the wars that took place at the beginning of the 20th century and the strict rules and regulations applied by the Soviet regime had an undeniable influence on our literature. It was at that time, during the years of Repression, prominent representatives of Azerbaijani poetry were subjected to political oppression and persecution, exiled and shot. The names of the poets who played a special role in the development of Azerbaijani poetic thought during the Soviet period were mentioned, and at the same time, the genre and form innovations they brought to our poetry were shown. Starting from the 60s, poets and writers began to deepen their view of man and his spiritual world. This movement, which began in literature for the sake of freedom of speech and thought, political thought, pluralism, national independence, and social justice, was continued in the 70s and 90s, and finally achieved its prospective goals with the acquisition of political sovereignty and state independence of Azerbaijan. The trend of critical realism that prevailed in Azerbaijani poetry in the 19th century was replaced by socialism- realism in the 20th century. The names of the leading representatives of this current have been mentioned. The article compares the similarities and differences of both French and Azerbaijani poetry of the 20th century in terms of literary trends, form, content, and genre, citing the names of poets and showing examples. In particular, the poems of the French surrealist poet Jacques Préver are compared to the poems of Rasul Rza and Huseyn Javid and Adil Mirseyid. The article also examines the form and content of the newest poets distinguished by their innovation in 21st century Azerbaijani poetry.

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Cartron, Maxime. "Comment remotiver un cliché historiographique ? Poésie du xviiie siècle et baroque des anthologies." Lumen 40 (November 3, 2021): 213–24. http://dx.doi.org/10.7202/1083175ar.

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Today, eighteenth-century poetry is undervalued by readers and scholars alike, still the victim of a persistent bias among French literary historians who consider this period as rationalist and antipoetic, an era of unfortunate verse that was fortunately ushered out by Romanticism. By reading a corpus of anthologies of seventeenth-century French poetry published in the twentieth century, this article investigates a particular modality of this invalidation: how the aesthetic merits of the Baroque are elaborated against highly critical readings of eighteenth-century poetry. “Baroquist” anthologists deliberately (mis)read Enlightenment-era poetry as insipid in order to value and define “their” object of study more forcefully. Should we believe these critics, the Baroque and the Enlightenment periods would seem to be wholly antithetical to each other: the former rife with orphic creative flare, celebrated as the cradle of modern poetry, and the latter suffering from a total lack of poetic artistry. The aim of this article is to show the ways in which Baroquist anthologies see eighteenth-century poetry as “post-classic” at best, and to offer a rationale for their damaging historiographical strategy.

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Holbekov, Mukhammadjon. "PERCEPTION AND INTERPRETATION OF CREATIVITY OF ALISHER NAVOI IN FRENCH ORIENTAL STUDIES." INTERNATIONAL JOURNAL OF WORD ART 6, no. 3 (2020): 40–50. http://dx.doi.org/10.26739/2181-9297-2020-6-6.

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The great Uzbek poet Alisher Navoi(1441-1501), during his lifetime, was widely known not only in his homeland, but also far beyond its borders. A contemporary and biographer of Navoi, the famous historian Hondemir, of course, not without some hyperbole, wrote: "He (Navoi -M.Kh.) in a short time took the cane of primacy from his peers; the fame of his talents spread to all ends of the world, and the stories of the firmness of his noble mind from mouth to mouth were innumerable.The pearls of his poetry adorned the leaves of the Book of Fates, the precious stones of his poetry filled the shells of the universe with pearls of beauty

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37

Cleghorn, Angus. "Bishop’s Stevensian Architecture in Paris and After." Bishop–Lowell Studies 1, no. 1 (2021): 6–26. http://dx.doi.org/10.5325/bishoplowellstud.1.0006.

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Abstract This essay builds on the scholarship of Barbara Page, Bethany Hicok, Eleanor Cook, Julia E. Daniel, and Jo Gill to further examine Bishop’s use of Stevens’s poetics to recast Parisian architecture. How much of his twenties and thirties styles are found in her work? Bishop’s ever-shifting ambivalences toward French aesthetic traditions characterize her thirties poetry in contrast to the Floridian poetry; both styles are published in North & South published in 1946. Does the new bright realism found in Florida mean the end of Bishop’s French aesthetics, or do the Parisian styles endure?

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38

Peeters, L. "Digterskap en poëtíkale besinning by vier Franse Simboliste." Literator 13, no. 1 (1992): 119–34. http://dx.doi.org/10.4102/lit.v13i1.729.

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When one studies the influence of French Symbolism on contemporary Western poetry it is necessary to define both Symbolism and influence. The first term is problematic not only because it is difficult to delimitate the reality it designates but because of the nature of the movement itself Rather than defining from the outside we will try to understand the genesis of the work of the four great 'symbolist’ poets in France, namely Nerval, Baudelaire, Rimbaud, and Mallarme. We do not consider the notion of influence as causal but as a confrontation from one poet’s work with that of another, the presence of poets of the past in the thinking of later poets. The structural genesis of the poetics of the four poets shows a marked resemblance in as far as they' all overestimate the creative capabilities of imagination and language. Their poetry is not so much a meditation about the essence of poetry as an interrogation about its power to change reality. Modem poetry develops thus inside a tension between dream and action, but it is only now, in the work of the most lucid contemporary' poets, and after the sometimes draconian claims of theory in the human sciences, that attention has focused on a possible solution of poetry's dilemma which was already present in the French poet's work: this solution can be indicated with the word caritas in the strong sense of the word namely the acceptation of contingency, the need of incarnation and the pursuit of universality through poetic language.

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Lima, Marleide Anchieta de. "O lirismo gauche de Afonso Henriques Neto: reflexões sobre a poesia brasileira contemporânea." Brasiliana: Journal for Brazilian Studies 3, no. 1 (2014): 184–218. http://dx.doi.org/10.25160/bjbs.v3i1.16765.

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This article intends to analyse the lyrical peculiarities in the poetry of Afonso Henriques Neto, placing them into the current Brazilian literary panorama. In addiction, it discusses the poet's gauche writing as a verbal-visual displacement observed in his formal and thematic imprecisions, in the problematization of his poetic heritage and in his relation with the "marginal" generation, with the beatniks and with the poets of the French modernism.

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40

VENTURINI, Santiago. "Preliminares de la traducción: dos antologías de poesía francesa cruzadas." TRANSFER 5, no. 2 (2017): 1–15. http://dx.doi.org/10.1344/transfer.2010.5.1-15.

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This essay compares two anthologies of French poetry published in Argentina during the last thirty years: Poetas franceses contemporáneos (1974), compiled by the poet Raúl Gustavo Aguirre and Poesía francesa contemporánea (1997), and prepared by the poet Jorge Fondebrider. The analysis of paratexts in each collection (prefaces, introductions, notes) is intended to highlight the determining participation of the translator that constructs a specific meaning for the foreign text when translating it.

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Vaderna, Gábor. "Occasional Poetry — Representative Poetry. Poetic Representation of the Wedding of Palatine Joseph and Grand Duchess Alexandra Pavlovna." Central-European Studies 14, no. 5 (2022): 281–309. http://dx.doi.org/10.31168/2619-0877.2022.5.12.

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The 16-year-old Grand Duchess Alexandra Pavlovna married the 23-year-old Austrian Archduke Joseph in St. Petersburg on October 30, 1799. The wedding, of course, had dynastic aims: Habsburgs and Romanovs wanted to strengthen their political alliance against France. The newlyweds arrived in Buda, the capital of Hungary, on February 1, 1800. From then on, they were celebrated for several months in a series of representative events. The Hungarian noble estates and the citizens of Pest and Buda expressed their respect on these occasions, but also communicated their political position: what they expected from the Palatine, what they hoped for in the war against the French, and what the duties of the young wife were. Poems were often recited, often sung, and sometimes handed over in printed form at various celebrations (balls, theatre performances, masquerade balls, etc.). This lecture explores the poetic tradition followed by these poems and the different poetic techniques used to communicate the political positions.

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Sainsbury, Daisy. "Towards a Minor Poetry: Reading Twentieth-Century French Poetry with Deleuze–Guattari and Bakhtin." Paragraph 42, no. 2 (2019): 135–53. http://dx.doi.org/10.3366/para.2019.0295.

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Drawing on Deleuze and Guattari's analysis of minor literature, deterritorialization and agrammaticality, this article explores the possibility of a ‘minor poetry’, considering various interpretations of the term, and interrogating the value of the distinction between minor poetry and minor literature. The article considers Bakhtin's work, which offers several parallels to Deleuze and Guattari's in its consideration of the language system and the place of literature within it, but which also addresses questions of genre. It pursues Christian Prigent's hypothesis, in contrast to Bakhtin's account of poetic discourse, that Deleuze and Guattari's notion of deterritorialization might offer a definition of poetic language. Considering the work of two French-language poets, Ghérasim Luca and Olivier Cadiot, the article argues that the term ‘minor poetry’ gains an additional relevance for experimental twentieth-century poetry which grapples with its own generic identity, deterritorializing established conceptions of poetry, and making ‘minor’ the major poetic discourses on which it is contingent.

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Broome, Peter, Jean-Jacques Thomas, and Steven Winspur. "Poeticized Language: The Foundations of Contemporary French Poetry." Modern Language Review 96, no. 4 (2001): 1094. http://dx.doi.org/10.2307/3735922.

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Walton, Stephen, and Virginia A. La Charite. "Twentieth-Century French Avant-Garde Poetry, 1907-1990." SubStance 23, no. 1 (1994): 135. http://dx.doi.org/10.2307/3684803.

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Minahen, Charles D., and Christopher Prendergast. "Nineteenth-Century French Poetry: Introductions to Close Reading." SubStance 21, no. 2 (1992): 142. http://dx.doi.org/10.2307/3684915.

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Perry, Catherine, Jean-Jacques Thomas, and Steven Winspur. "Poeticized Language: The Foundations of Contemporary French Poetry." Rocky Mountain Review of Language and Literature 55, no. 2 (2001): 122. http://dx.doi.org/10.2307/1348276.

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Rothwell, Andrew, and Virginia A. La Charite. "Twentieth-Century French Avant-Garde Poetry, 1907-1990." Modern Language Review 90, no. 1 (1995): 209. http://dx.doi.org/10.2307/3733334.

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Killick, Rachel, and Stamos Metzidakis. "Understanding French Poetry: Essays for a New Millenium." Modern Language Review 91, no. 3 (1996): 748. http://dx.doi.org/10.2307/3734152.

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Hope, Geoffrey, and Stamos Metzidakis. "Understanding French Poetry: Essays for a New Millennium." SubStance 32, no. 2 (2003): 129. http://dx.doi.org/10.2307/3685675.

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Metzidakis, Stamos, Jean-Jacques Thomas, and Steven Winspur. "Poeticized Language: The Foundations of Contemporary French Poetry." SubStance 32, no. 2 (2003): 133. http://dx.doi.org/10.2307/3685676.

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